Publication: El grafismo contemporáneo en la creación artística. Aspectos históricos y estéticos
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2016-09-08
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Universidad Complutense de Madrid
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Abstract
En esta investigación se pretende estudiar el uso que se ha hecho del grafismo en aquellos procesos creativos que tendrían la intencionalidad de devenir en obras de carácter plástico-artístico Consideremos que todo diagrama tienen una intencionalidad; se carga de valor creativo en el mismo momento que pretende crear o recrear una realidad. Pero no por ello habría que suponer que su valor pueda contemplarse como artístico. Esta valoración habría que hacerla en función de la significación, inmediata o subsiguiente, que se le dé a estos esquemas: el que lleguen a ser considerados como elementos de un proceso con una finalidad artística concreta. La significación aquí estaría definida por el dominio del que habla Deleuze en su conferencia "¿Qué es el acto de creación?" en 1987. " [...]Uno no tiene una idea “en general”. Una idea está “ya vista de antemano”, está ya en tal autor, en tal dominio determinado. Quiero decir que una idea, ya sea una idea en pintura, ya sea una idea en novela, ya una idea en filosofía, como una idea en ciencia, evidentemente no es lo mismo."3 Aquí nos encontramos con la intencionalidad que cada autor le quiera dar a su obra. Pero la resignificación que se hace de la obra cuando esta se contempla en diversos momentos o lugares, ¿afecta también a estos elementos? Si los consideramos como parte de la obra, aunque en su momento no fuera así, es más que probable. La obra final, entonces, no siempre existe. Pero aún es más frecuente, sobre todo en ciertas épocas o culturas, que sea el material conducente a la obra final lo que ha desaparecido, aunque se tenga constancia de su existencia. El que esta documentación del proceso se haya conservado o no, no parece afectar de manera directa a la obra final, pero sí nos habla de manera directa de como se contempla el arte, por lo que esta significativa ausencia también se tiene en cuenta a la hora de realizar este estudio...
With this investigation I intend to study the use that has been made of graphics in those creative processes that evolved in plastic-artistic works. The first approach we have to the world and to the reality that appears before us is visual and the outline of symbolic images is, hence, configured as the innate expression with which we try to apprehend said world. Let’s say that every diagram has an aim: it is loaded with creative value the instant it intends to create or imitate a reality. But that doesn’t mean that its value can be considered artistic. This assessment should be made according to the meaning, immediate or subsequent, these diagrams are given: that they get to be considered as elements of a process that has a sp ecific aim. The meaning here would be defined by the field that Deleuze talked about in 1987 in his conference ‚What is the act of creation‛. ‚One can’t have a ‚general‛ idea. An idea has ‚already been seen‛, it already exists within its author, in a determined field . I mean that an idea, whether it is an idea in painting or an idea in writing or in philosophy or science, is evidently not the same as other ideas‛1. Here we meet with the intentionality that each author wants to give its work. But does the significance that the work is given when contemplated in different places or times affect these elements too? It is more than probable, if we consider them as a part of the work, although at some time that was not the case. The final and completed work, hence, doesn’t always exist. But it is very common, especially in determined times or cultures, that what gets lost is the material that derives in the final work even though we do have evidence of its existence. The conservation or lack thereof of this material doesn’t seem to affect the final work in a direct way, but it directly speaks of how art is contemplated which is why this significant absence is taken into account when carrying out this study...
With this investigation I intend to study the use that has been made of graphics in those creative processes that evolved in plastic-artistic works. The first approach we have to the world and to the reality that appears before us is visual and the outline of symbolic images is, hence, configured as the innate expression with which we try to apprehend said world. Let’s say that every diagram has an aim: it is loaded with creative value the instant it intends to create or imitate a reality. But that doesn’t mean that its value can be considered artistic. This assessment should be made according to the meaning, immediate or subsequent, these diagrams are given: that they get to be considered as elements of a process that has a sp ecific aim. The meaning here would be defined by the field that Deleuze talked about in 1987 in his conference ‚What is the act of creation‛. ‚One can’t have a ‚general‛ idea. An idea has ‚already been seen‛, it already exists within its author, in a determined field . I mean that an idea, whether it is an idea in painting or an idea in writing or in philosophy or science, is evidently not the same as other ideas‛1. Here we meet with the intentionality that each author wants to give its work. But does the significance that the work is given when contemplated in different places or times affect these elements too? It is more than probable, if we consider them as a part of the work, although at some time that was not the case. The final and completed work, hence, doesn’t always exist. But it is very common, especially in determined times or cultures, that what gets lost is the material that derives in the final work even though we do have evidence of its existence. The conservation or lack thereof of this material doesn’t seem to affect the final work in a direct way, but it directly speaks of how art is contemplated which is why this significant absence is taken into account when carrying out this study...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Dibujo I (Dibujo y Grabado); leída el día 14-01-2016